这是一张迟来了一年的EP,08年底我们组建了小巫师，
决定进行一个关于声音的有趣尝试。
在大约两年后的今天，这个尝试变成了一张简单的CD
从你听到它的那一刻起，你也加入了我们的游戏，
运用想象力，突破一成不变地生活。
试听：

The Seven Mile Journey (demo, 2001)
1. In an Eight Track Universe [Mp3]
2. The Mystery of Olden
3. Distant March
4. When Blizzards are Afraid
Total running time 44:11
Recorded in the winter of 2001 in Aalborg

专辑介绍：也许你不敢相信，这就是一个大学生仅仅凭借吉它,电脑,键盘,简简单单的几个乐器完成的一张后摇专集。摇滚,氛围都做的丝毫没有那份青涩的感觉，更多的是成熟，自我。这张专集给人的感觉真如同专集封面所带给人的感受一般。它并没有完全拘泥于传统后摇静-躁-静的固有模式，而是执著于更为写意、抽象的勾勒着一个又一个优美的片段。听它的时候，我所能够做的，就是伴随着音乐发呆，然后任凭思绪天马行空。恩，说多了说多了，音乐不是用来评论或是描述的，自己认真去聆听，去感受，去共鸣就对了

历经成员洗牌并更名为GriffO之后的首张EP。《神游大王》带着柔融之力与强劲躁动冲突之下的慵懒兴味，现实生活的无聊有趣都是药剂，一剂下肚集体用脑神游了外太空，游离无序幻象，空想博爱宇宙，最终委以精神，虚于生活。冲突消失迹象也随之消散， 酣畅之下消愁释愦。

Umber's latest release finds young composer Alex Steward progressing from the humble surroundings of his bedroom in the countryside, to the grander backdrop of the city. These two tracks were originally composed for a collaborative live audio visual installation with film-maker Chris Shen and were performed at Manchester's Free for Arts Festival in October 2011.
The new recordings find Alex utilising familiar elements which made 'Morning's Pass' (his debut EP) so successful; electric swells, organic heart and uplifting and life-affirming melodies to create his unique sound of subtle euphoria.
credits
released 28 November 2011
Label: Hawk Moon Records

Mastered by: Tom Honey
goodweatherforanairstrike.bandcamp.com
Photo by: Andrew Lewis Campbell

Photo edited by: Cameron Steward

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封面中几位男女在蓝天绿野苍穹间赤裸的奔跑着，像开始着一段美丽梦幻的旅程，更像是一次向纯粹灵魂的回归。在聆听Sigur Ros这张新作品的时候，我一直在思考它究竟在表达着什么。音乐截然不同的节奏明快，显现出了风格上的重大转变。Sigur Ros已经从以往阴冷的氛围中走了出来，开始展示出他们明媚的一面。我像这张专辑也许正是通过这种明亮的感觉传递着一种纯粹的回归吧。听完这张作品之后，突然感觉内心的浮躁仿佛随着音乐彻底消散了。第五首和第七首是专辑中最打动我的曲子，依然带着他们Sigur Ros以往作品的影子，空灵般的感觉引得人心中涌出一段段回忆般思绪。让我们经历着Sigur Ros带给了我们又一次灵魂般洗礼的感动，随着他们开始一段盛夏之旅吧！
专辑原名为《Mee Sue í Eyrum Vie Spilum Endalaust》，英文翻译名为《With a Buzz in Our Ears We Play Endlessly》，被充译作：苍穹耳语无尽无垠。封面选自纽约视觉艺术家Ryan McGinley名为I Know Where the Summer Goes摄影系列，欣赏过这组摄影作品之后，也深深的震撼了我。Ryan McGinley,他是纽约国际摄影协会最年轻也是最杰出的摄影师奖项得主。他的作品离不开青春这个主题，拍摄对象往往是社会上的边缘分子，构图直接，用色简单利落。Ryan McGinley代表了在Youtube和Myspace环境下成长起来的新一代年轻人，他们将自己的私密生活制作成视觉日记给大家观看。I Know Where the Summer Goes拍摄于2007年夏天，带着16个模特，三个助理，弄了4000个胶卷。
Ryan McGinley作品：

Leicester's Maybeshewill have never previously done things by halves, they have always put the maximum effort into everything they have ever written, and their third album, 'I Was Here For A Moment, Then I Was Gone,' is no exception.
Opening track (Which is cleverly called 'Opening') is a brilliant orchestral piece, starting off the album in the style of 65daysofstatic. An epic drum line and choral singing help to create a dark atmosphere, which leads nicely into the second track.
'Take This To Heart' kicks in straight after 'Opening,' with no chance to sit back and take in what you just heard. Heavy guitar lines and violins give this song a very epic feel, which is what this record is about. This song is nicely unpredictable, every now and then the guitar stops and an orchestral piano or violin section will come in, which is really what helps to seal Maybeshewill's reputation as a great post/math/whatever rock band, I have never been able to make up my mind as to what genre to classify this band as.
Next track 'Red Paper Lanterns' starts with a calm guitar line, which then is layered with drums and xylophones to build up to a climax where everything goes very Explosions in the Sky-esque. Then everything goes calm again, with a synth interlude mimicking what the guitar was doing previously, all building up to a math rock guitar riff that seems very common in the current UK underground scene, reminiscent of bands such as Tubelord, Tangled Hair etc.
Next track and lead single 'Critical Distance' is a good example of how well this band can do post rock, I would have to, once again, refer to 65daysofstatic in order to describe how this sounds, but it's not in a way that they are ripping them off, more as in they are acknowledging what 65days are doing and trying to do similar. For me this is the best song on the record, a very good choice for lead single, and probably a very good way for people who haven't listened to Maybeshewill in the past to get into them.
'Accolades' follows with distorted guitars and a fast synth line in an odd time signature, this track is almost in the style of early Biffy Clyro, in the way that it is fast, heavy and unpredictable. Once again this song like most on this record cut out to a calm, almost orchestral section, then goes into a great calm build up which leads to what is probably the album's heaviest moment. The track leads into a quiet outro, while xylophones and sampled violins play what the guitar was playing prior to it. By this point I am totally won over by this album, listening to the next 5 songs is just a mere technicality that I have to do in order to give a fair review.
'An End To Camaraderie' is another brilliant example of how much talent this band has, there is so much energy in this song it becomes hard to sit still after a while. There is a brilliant background synth part in this song that you have to really listen out for, in my opinion it should have been turned up in the mix as it would have made this song so much better, but regardless this song is the best example of what this band does, heaviness mixed with ambience.
The album then leads into 'Words For Arabella,' a calm song, all the way through this time. This was a good tactical move by Maybeshewill, as everybody listening would be expecting this song to get really heavy like every other one on this album, but this keeps the album unpredictable. As well as working as a good way to maintain unpredictability it is a refreshing break from distorted guitars and loud drums, even if just for a few minutes.
Next up is 'Farewell Sarajevo,' which starts with ambient synths, this intro could quite easily go into a drum and bass song, but I am quite glad that it doesn't, instead going into a brilliantly formulated post rock crescendo.
Penultimate track 'Relative Minors' is the longest on the album, and is also the most epic of every song on it. With brilliantly thought out guitar melodies over distorted chord sequences, energetic drums over amazingly well sampled piano parts, this song just reinforces the great impression that the rest of the album has made, and cements them as one of the great post rock bands in the world, I expect one day to see the name Maybeshewill alongside Mogwai, Explosions in the Sky and Godspeed You! Black Emperor.
Final track, 'To The Skies From A Hillside' is a good way to end the album, with both guitarists contributing to what is essentially a 5 minute long riff with the occasional slowing down point, presumably because the guitarists need a second to catch their breath.
All in all this is a brilliant post rock album. It will not be everybody's cup of tea due to how hard some people find it to get into post rock, but for fans of the genre, it will win them over with no effort.

OVUM is a four-piece instrumental band based in Tokyo, Japan.
We have given concerts in Tokyo since formed in 2006.
Making songs, we remove improvisation and noise as much as possible and make much of ensemble, melodies, harmony and structure by composition.
Our music may be based on the form of so called “post rock”. However, what we believe the most important is not in musical form but in the pursuit of universal beauty such as the sweetest of melodies and harmony, which may sound classical.
If you feel that our sound is beautiful, we are very happy.

成军四年，selfkill在台湾乐团圈一直是个安静深沉的存在，往往连团名都没听过，却在大大小小的表演场合惊鸿一瞥地发现他们－－正认真地制造着大块吉他音墙。相较于音乐上的气魄，他们私底下总是不太多话、青涩害羞。

令人不可思议的是，这样沉默的selfkill，在音乐上展现同类型乐团难得一见的沉稳风范，双吉他各自带着独特的音色奔驰，默契十足地铺陈丰富旋律，高低起伏的音压窜流耳畔，爽朗的鼓击带着令人振奋的弹跳力道，情绪从不流于过度铺陈。

自从甜梅号、Explosions in the Sky、Mogwai走红，后摇滚／吉他交响曲式渐渐受到听众喜爱，selfkill在这样的风潮中，仍然不急不徐按着自己的步调前进，他们没有强大的企图心，也不在乎被类型化的标签拘束。利用课余时间，以有限的器材完成专辑的录音混音，朴质不加修饰的音色有一份自在与安稳。

以充满空间感的“Atonia”开场，前三曲抑郁窒闷的声音质感，像夏季雨夜特有的潮躁；第四首歌，直接、乾烈的声音，仿佛突然抓起望远镜头把远方的景物硬塞到眼前，在专辑的中段突然安插这样回异编曲音色，实为非常有意思的转折。；“太空号列车”的人声恰如其分的展现了“人声”作为一项乐器的角色。在“妈妈 我考试考100分”中，转为绝望的呐喊。

selfkill的初试啼声之作，稳健地展现了独特的协调性和旋律性。雨停了之后？问号之中充满期待。

God is An Astronaut的配器虽然遵循英式摇滚的传统，但还是充满了古老冲动与激情。God is Astronaut这支柏林的乐队是2002年由两兄弟Niels 和Torsten还有他们的朋友Lloyd三人行而成的。他们的音乐清澈而具有质感，旋律优美却多愁善感，并且运用大量美妙的电子声效。

后摇滚，试验
Nashville, Tennessee calls itself the "Music City" of the United States, but that reference is inevitably lost on anyone who can't remember anything before nu-metal, boy band pop, and grunge. Even those recalling sounds of 80s hair metal and new wave can't conjure up why exactly Nashville is such an "important" city. Forget all of that. In the twenty-first century bands everywhere strive to reinvent the wheel in an attempt to reinvigorate the modern rock world, and although country is still alive and thriving, many of us have long since turned a blind eye in order to witness the creation of something a bit more intangible and personally fulfilling. At one point in time someone dared to label this movement, and the term "post-rock" first invaded the ears of unsuspecting listeners. Many refused a limitation upon the potentials of such a "movement," or that a movement was even in motion at all, and still others sought to mold it into its own bizarre creation. But it was too late, for the seeds had already been planted...
A decade or so later this movement is in full swing in the underground world. Call it what you will -- post-rock, instrumental rock, experimental rock -- there's no denying that something has bitten the young musicians of the world and have inspired them to reach out beyond the compositions of old and stretch the boundaries of contemporary music in ways which almost makes the need for genre labels obsolete. In this world, Nashville is not the music capitol, which is likely bestowed upon Montreal, Canada. In fact, it's barely even on the map, tangential only because Hammock and Emery Reel reside at Franklin and Murfreesboro respectively, a short distance from Nashville. The Ascent of Everest aims to change all of that.
How Lonely Sits the City is the debut album from this young band, who came together only a year ago in its devotion to its craft. The Ascent of Everest suffered not one, but two hard drive malfunctions which basically led them to re-sculpt the album from scratch. The frustration can surely be felt throughout the course of the album, where the band attempts to hammer every nail into position and deliver a perfect, awe-inspiring performance. The resulting work of art hits the spectrum near bands such as Explosions in the Sky, Godspeed You! Black Emperor, A Silver Mount Zion, and Yndi Halda. Presentation is a key component to the work of The Ascent of Everest, and it readily switches forms from guitar driven segments to orchestral upwellings to thick atmospheric drone and ambiance. The segues are often huge and greatly overlapping, which results in some extremely cinematic or cathartic passages. And although the band has only been playing together for a year, the cohesion present between the different members is so great it’s difficult to believe that they haven’t been playing this gig for years.
The Ascent of Everest starts off the album by showing its Explosions in the Sky influence with "Alas! Alas! The Breath of Life!" This melodic ballad travels around the sonic landscape like a graceful ballerina, spinning a grandiose tale of epic proportions. The slow buzz of the guitar slowly works itself into some innocent fluttering, steadily building up momentum as strings and drums are added to the mix. Things can only escalate so much before the drums and guitar take over in true guitar-rock fashion, but also Devin Lamp lends his voice for some very low-key vocals, which supplement the blissful explosion of energy. This optimistic energy plateaus and The Ascent of Everest continue to climb up the mountain. Quick, sharp drum beats anchor a rising violin and the smooth licks of the guitar. The second climb proves to be the one leading to the staggering climax. Someone triggers the reverb and it viciously swarms the sonic landscape in a sweeping motion while the violin punctures the surface with its high wailing. The song then winds down, and How Lonely Sits the City is off to a tremendous start.
Perhaps the most interesting song on the album is "A Threnody (For the Victims of November 2nd)". Those behind on their vocabulary will do well to know that a threnody is a song dedicated to the memory of a deceased person (not to be confused with a "dirge"). Now it's time for a bit of history (see, post-rock can be educational!). "Election Day" in the United States falls between November 2nd and 8th. The portion of the US population who bothered to vote in the last presidential election may recall that it took place on November 2nd, where George W. Bush defeated John Kerry. Throw in some audio commentary from Mario Cuomo (via 1984’s Democratic Convention) with some references to John Winthrop’s “A Modell of Christian Charity” (the “city on a hill speech”), and the song is ripe with political and religious underpinnings. Let that simmer for five minutes, with a slow, brooding musical foundation that boils over and spills forth from the brim of justice to cleanse the world of its plague of political deception. Or, so we hope. The Ascent of Everest reside within a “red state,” but they aren’t afraid to let their voice be heard, and that is something that we can’t afford to ignore anymore.
“If I Could Move Mountains” ends the five track album with the band in its most ASMZ inspired haze, complete with a composition broken into three movements. Lamp again lends his voice for an acoustically led chant that builds into the most beautiful epiphany on the album, known as “Majesty and Awe”. Afterwards the band recedes back into sparse instrumentation (“Collapse into Understanding”) and very hesitantly rebuilds momentum to conclude with another beautiful finale (“Gathered Hearts Rise and Sing at the First Breath of Dawn”). This time the guitar takes the lead, creating a wave of reverb that the violin rides so effortlessly into the sunset. It’s great to see a band finish off a superb debut with such an appropriately moving last track and really cement their place in the stateside instrumental scene.
The Ascent of Everest set its sight on a crowd pleasing debut album, and with a seemingly endless amount of hard work and dedication it has pulled it off. I can’t say the album is flawless, for there is definitely some room for improvement in the The Descent of Everest, but the band makes a very strong debut effort and shows itself to be tackling some very complicated compositions and utilizing some very sophisticated arrangements. Although the band’s influences are no mystery, it does do a good job of varying between its influences instead of relying too heavily on any single source of inspiration and coming off as a clone. That in combination with a little bit of its own magic makes How Lonely Sits the City quite a pleasant listen for the ears. Undoubtedly this is one of the better instrumental releases from the U.S. in 2006, if not the world at large.
~Jordan Volz